Much of my practice is rooted in an interest in how people communicate, and how this has changed over time. Handwritten correspondence provides a lot of my inspiration, particularly the handwriting and care taken over personal letters. In some of my work, I’ve used old love letters into delicate sculptural forms, allowing traces of the original text to remain visible.
Much of my practice is rooted in an interest in how people communicate, and how this has changed over time. Handwritten correspondence provides a lot of my inspiration, particularly the handwriting and care taken over personal letters. In some of my work, I’ve used old love letters into delicate sculptural forms, allowing traces of the original text to remain visible.
My work is also informed by a long‑standing fascination with natural history and collections. As a child, I remember studying museum cases displaying insects have influenced the way her pieces are assembled and pre, and these have influenced the way I present the framed collections, giving a sense of fragility, while carefully arranged in ordered groupings.
Through slow, hand‑made processes, I aim to give new life to old documents, inviting close inspection, reflection and human connection.
My latest project uses letters sent from Denmark. To commemorate the end of the Danish national postal service, I invited people in Denmark to write one last letter.
Gillian Taylor 